MS: reflektor Both of those are really close to exactly following the transcripts. So we recorded re

MS: Fake .
Sesame Street .
DD: We could unpack the implications of what was just happening. Because with free associations, you expect reflektor you are going to be honest, immediate and direct. But you feel that pressure of saying the clever or the smart thing, or being funny. So I guess it stages the way that being honest vs. being impressive are counter imperatives. It flags the importance of feeling relaxed or feeling trust. Like free association and the analytic scene is the same because you should disclose the truth about yourself, but you worry about what the analyst will think. Are they judging me?
DD: Well, like when you said nose I said dad because my father is a cosmetic surgeon reflektor and as soon as I m talking about my dad Martin then says trouble , like, Oh, no, not Drew s father again. reflektor So I think it was producing some self-revelation, but I don t know.
DD: I suppose reflektor it s a question of whether you trust that people are being honest to their initial reflektor associations. I remember playing this game as a kid, when I was in the closet, and I played it with someone I had crush on, he said sex and I immediately reflektor thought men but said bed . It was revealing: the moment of supposedly being honest, of being who you are, was the moment of total self-consciousness and denial, lying. So I d associate this game with
DD: Right. The ethically good person can freely associate because they have nothing to be ashamed of but the wicked person does, so they can t freely associate and the scene of being honest is not real. But maybe nobody is being honest, I don t know.
MS: With telepathy in mind, I think Drew sort of thought he was finished with this record about two years ago and he wasn t being true to his own concept. He had done more covers, there were other songs which mainly he had done and they were true to the concept of taking stuff from the psychic examinations and I had this kind of revolution, like saying,
DD: So Martin kept me honest. I think that s the thing, that once you commit to the concept it comes from Sol LeWitt, Paragraphs on Conceptual Art , he says the idea is a machine reflektor that creates the work. You are just executing this formula.
MS: He was doing sort of Sol LeWitt, so have a bunch of those lines and then he was like, But what if they were pink and red, maybe we d put a big wash of color [both laugh]. It s not the idea, it may be beautiful, but that s not what we were supposed to I mean, there has to be push-pull.
DD: Yeah, I think we walked a line between being experimental and conceptual and being pop, basically wanting people to listen to some bass lines, enjoy some kicks and snares patterns. Balancing those imperatives, for better or worse, is, I think, what we do.
MS: I mean, we try to run the gamut on the record, where a song like Ross Transcript (that s what I think it is called) is like the guy said, Oh, I hear the sound of someone walking reflektor with a bucket of water.
MS: reflektor Both of those are really close to exactly following the transcripts. So we recorded reflektor walking with the bucket and then cut it and cut it. It would be the most literal way of translating one of those psychic sessions. Whereas reflektor the least literal is Tunnel which is sort of collage of a bunch of different people s [sessions], Drew just chose different images.
DD: reflektor Yeah, one girl said, I hear the music like I m in a filthy club and someone said, I hear mass chanted reflektor singing reflektor , so we got a bunch of our friends to growl and make caveman-like noises and then layer it onto something chuggy and harsh. That s not so literal, that s a kind of bricolage of contents of lots of psychic sessions. Sometimes it s literal, sometimes not, I think that is to produce a record that flows and moves trough a lot of different genres and territories reflektor rather than something which is a purely musique concrète-like academic exercise, which
DD: Definitely. Left to our own devices reflektor I think we wouldn t make a record with people singing. I mean, there are so many records with singing, so much pop music, why add to this surplus. But so many of psychic reflektor transcripts were like, I hear chanting , I hear a voice . So we felt we had to go in this direction because that was what transcripts were giving us. I have to say there was a lot of fun to this, like in Ross Transcript reflektor where it says, There are those cartoony voices arguing reflektor , Martin and I got to make those characters reflektor and sort of freak out and layer that with espresso machine noises. reflektor Then there were other songs that really wanted to go in quite a different emotional direction of something more precise and more melodic, reflektor like someone saying, I hear this five-note melody which is long .
MS: I mean, I don t know, another answer to this question would be: no, it didn t really push us to go in any direction. On the other hand, we didn t decide what we were going to do but did we do stuff that s massively outside our
DD: reflektor Yeah, w